Comic Books and Graphic Novels

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Allison, Rachel Hope.


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Andersson, Oskar


Anno, Mitsumasa.






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Anonymous


Aragones, Sergio




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Arcudi, John, Simon Bisley and Chris Chalenor.




Arnon, J. M.
Buzz Buzz A Gogo

Publisher: Stakhano, 199?

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Augustin




Aulisio, Pat.




Avril and Petit-Roulet.


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Azzarello, Brian and Brian Stelfreeze.


Baay, Mattt
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Badajos, Ed


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Baker, Kyle


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Baladi


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Discoman

Publisher: Atrabile, 2007.

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Tabloid

Publisher: Atrabile, 2002.

Comment: .



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Bautista, Gabriel


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Berardi and Milazzo


Blanchet, Pascal.


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Blanquet, Stephane.


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Blaylock, Josh and Mike Zeck


Blexbolex


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Blutch.
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Boira, Paz
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Bosse, Simon.


Bosshart, Daniel.
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Branea, Matei.


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Braün, Éric.


Bronserud, Anders.
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Brown, Patrick


Brrémaud, Frédéric.
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Brun, Ivan.
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Bruno (Bruno Thielleux).
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Bruno, Andrea.


Byrne, John.
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Byrne, John(w), Jim Aparo (p) and Mike DeCarlo (i).


Byrne, John (w/p) and Andy Kubert (i).


Cahill, Alex
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Last Island

Publisher: ??.

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Cartier, Eric.
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Castrée, Genevieve (Fidèle)
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Chiang, Dean
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Chippendale, Brian.


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Clayton Junior


Mr. Clement (Chan Chi Cheung)


Clement, Pierre.
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Coche, Frederic.
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Cornejo, Santiago.


Crane, Jordan.
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De Crecy, Nicolas
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Cromheecke, Luc
Plunk

Publisher: Dupuis 2007

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Crosa, Riccardo
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Dart, Rebecca


Davis, Jack.


Decker, Frodo de.
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Delgado, Ricardo.
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Delisle, Guy.
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Demeyere, Benjamin.
Fire

Publisher: Bries, 2008



Deprez, Olivier.


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Dieck, Martin Tom


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Dinter, Tim
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Dinther, Stefan J.H. van and Tobias Tycho Schalken.
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Ditko, Steve


Dixon, Chuck and Russ Heath.


Doherty, Catherine
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Dorgathen, Hendrik
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Duchateau, Kim


Dumortier, Charlotte.


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Edith and Riff


Eisner, Will.


Emerson, Hunt


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Estes, Max.
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Evens, Brecht


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Fabio
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Faraci, Tito and Silvia Ziche
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F.C.
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Feelings, Tom


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Feinberg, Jennifer
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Fink, Jessica.


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Pauline Fondevila and Francois Olislaeger
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Forsythe, Matthew
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Fortemps, Vincent
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Fougasse


Fowler, Tom


Fraipont, C. and P. Bially.


Frakes, Colleen.
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Franquin, Andre.
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Gagne, Michel.
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Garcia, Sergio
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Ghermandi, Francesca
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Gilbert, Michael T. and Raoul Vezina


Gonzalez, Aaron F.


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Grammaticopoulos and Malonda Y Sanz


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Gresnigt, Wouter
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Grist, Paul
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Gross, Milton


Guillaume, Albert.



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Guitard, Thierry


Gursel


Habitbol, Squad and Berd'ach
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Hamm, Nils


Hansen, Lance Christian


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Harder, Jens
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Hartzell, Andy
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Haspiel, Dean


Hasselt, Thierry van.
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Henderson, Sam


Heuvel, Cees


Hidalgo, Manolo
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Holstrop, Bernhard (Willem)


Ilic, Mirko and Les Lilley
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Itzcovitz, Aviv
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James, Dan


Jarvis, James.
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Jason
Mjau Mjau #5-10

Publisher: Oslo: Jippi Vorlag, 1999-2002.

Comment : These Norwegian comic books are almost entirely wordless, and terrific examples of pantomime storytelling. At slightly larger than US comic book size, and 48 pp. per, each issue is filling... The featured characters appear to be anthropomorphic birds and dogs. They're really people, though, in the sense that they are seldom treated as animals. There are other character types too: horror movie monsters, a certain Lucasfilm character, angels and devils, and skeletons.

This may sound merely cute, but Jason has wit and style and a gift for stinging irony. The work is generally high-spirited, not mean or satiric, yet it can be ribald and, better yet, touching. Stories range from single-page gags to (in issue 6) a complex 20-page fable. Some of the pieces are Quiet Observations; others, Silly Gags. A few are genuine Stories and merit rereading. Both issues offer a pleasing variety of stuff.

Jason's style is wonderfully spare, and he knows how to wring an emotional payoff from really minimal, low-affect drawings. His characters do not visibly emote (at least not very often), but he can still tackle subje love, death, and grieving very effectively. The circuitous approach to feeling reminds me of Spiegelman's cartoon minimalism, but Jason's drawings are more facile, more fluid, and the work depends less on words (obviously) and more on juggling comic stereotypes. It isn't necessarily deep work, in the sense that it lacks the dimensions that words could bring, but it is charming and memorable and occasionally wickedly funny.

For people who enjoy, say, Trondheim's mute gags, or Woodring's, or something like Dorgathen's Space Dog, I think Jason's work will be very welcome. -- Charles Hatfield

























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Joan


Jousselin
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Juncker, Nicolas
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K, Ulf
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KA, Olivier and Alfred
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Kalberkamp, Peter
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Kanigher, Robert and Joe Kubert.


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Karlson, Kolbeinn.
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Kielland-Brandt, Peter
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Killofer
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Kindt, Matt


Klein, Patty
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Koala, Kid
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Koch, Alain


Koch, Edith; Riff, Joan and Eric Cartier


Kolyer, John
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Krahn, Fernando
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Kriebaum, Thomas.
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Kriek, Erik
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Krug, Nora




Kubert, Joe


Kuper, Peter


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Kurtzman, Harvey and Wally Wood


Lambe, Eric
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Lanier, Chris


Larcenet, Manu
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Lash, Batton


Laska Comix
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Lawrence, Don


Lecroart, Etienne
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Lee, Paul


Legendre, Marc.


Leping, Zhang
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Lethcoe, Jason


Limmroth, Manfred


Loriot


Madden, Matt.


Maester.
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Mahler, Nicolas
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Makela, Pauliina
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Ilan Manouach


Manuel
Manuel 123

Publisher: L'Association, 2008.

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Marchesi and Tacconi


Martz, John.
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Mattioli, Massimo.


Mattotti, Lorenzo.
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Matulay, Laszlo


Matsumoto, Taiyo
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Mavreas, Billy.


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Mayer, Sheldon.


Mayerovitch, Harry


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McDonnell, Patrick


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McNaught, Jon


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Menu, J.C., Lewis Trondheim, David B., Killofer, Stanislas and Matt Konture.




Metzger, George




Midam, Thiriet.


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Micol, Hugues
3

Publisher: Cornelius, 2001

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Miki, Tori


Miller, Frank.
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Moebius (Jean Giraud).
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Moore, Alan et. al.
The Worm

Publisher: London: Slab-o-Concrete and the Cartoon Art Trust, 2000.

Comment : Somewhat like Spiegelman and Sikoryak's Narrative Corpse, this jam (completed in 1991 to benefit the London Cartoon Centre) collects the work of a ton of cartoonists, most doing one panel of a script by Alan Moore. It tells the story of, let's see, a worm, a cartoonist, and the human race, up through a fanciful utopia in which comics is accorded the status of not simply Art (as we all know it Should Be) but Life Itself. Ultimately, it's all a bit over the top, but then, the concept itself--to create the World's Longest Comic Strip--is over the top anyway.

There are a lot of familiar names in the credits, as well as a great many I do not recognise; given that the work itself was done in 1991, who knows how many of these folks are still even practicing cartoonists. Art styles and abilities shift rapidly from panel to panel, but as I knew the nature of the project going in, this hodge-podge nature only added to the book's charm.

The story is itself primarily (though not exclusively) worldess... and the main character a hapless cartoonist with aspirations and talent (a cipher with whom I'm sure the cartoonists who worked on this project were able to identify much moreso than the Narrative Corpse's match man). The plot moves across time in a deliberate if neblous fashion; I enjoyed seeing what visual cues would be chosen to represent various cultures and times. The Bayeaux Tapestry and other proto/pseudo/pre-comics crop up as the history of the (comic) (art) world unfolds over the book's first three (of five) chapters.

The packaging of the book makes it a keeper, as well as an intelligent publishing decision. All of the textual material in the book is presented in English, French, and Swedish (the book project received assistance from The Swedish Council for Cultural Affairs)--that includes the (obligatory?) Neil Gaiman preface, Steve Merchant's contextual introduction, and the afterword which contains Alan Moore's initial overview of what he envisioned the story to be, dictated into a tape recorder and transcribed here. What text there is in the comic proper is included in English (visibly pasted down onto the artwork) and again in added French and Swedish captions which, while they do break up the panel compositions a bit, usually add more than they (necessarily) obscure.

To open up a book like this to three language markets is a smart move, especially since the comic's mostly wordless nature makes it a natural for international distribution. Note the similar, though much more exhaustive, treatment of the textual material in Comix 2000...

All in all, I like The Worm quite a lot. It's a clever experiment, not really a grand statement; that it strives for, and even succeeds a bit, in making any sort of Statements at all is a testament to the work which can be done by a large group of people all dedicated to a common cause.

-- Gene Kannenberg, Jr.



Moore, Alan and Jaime Hernandez.


Moran, George.


Mordillo, Guillermo.
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Safari.

Publisher: Glenat.

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Munnik, Len


Neely, Tom
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Neill, John R.


Neri, Filippo and Ruggeri, Piero
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Newman, Ben
Ouroboros

Publisher: Nobrow, 2010.

Comment : .

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Novgorodoff, Danica
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Nuckel, Otto.
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Nuutinen, Christer
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Otomo, Katsuhiro.


Otsamo, Pentti


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Ott, Thomas.
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O'Shea


Ozkan, Tayyar.
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de Paola, Tommy
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Palumbo, Giuseppe
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Park, W.B.


Parrondo, Jose
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Peeters, Sam
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Perriot, Vincent
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Pini, Wendy and Richard


Plauen, E.O. (Erich Ohser)
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Plunkett, Kilian.


Ponti, Claude.


de Poortere, Pieter
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Prohias, Antonio.
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Ptiluc.


Qwak, Arthur.


Ralph, Brian.
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Rege, Ron
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Reilly, Christopher P. and Gus Finx
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Remi
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Remillard, Louis


Remuzat.


Reumann, Helge.


Ricci, Stefano.
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Riff.


Robin, Thierry
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Robinson, Alex
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Rogers, Gregory
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Roux, Mickael and Lorien
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Ruijters, Marcel.


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Runton, Andy
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Russell, P. Craig.


Sawka, Jan


Schalken, Tobias
Eiland-5

Publisher: Bries, 2010

Comment : .

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Scheel, Ulrich
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Sean


Shaw, Greg


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Shewchuk, Pat


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Sim, Dave.


Simmons, Josh


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Simonson, Walt.


Sips, Roland (A) and Nicolaas Matsier (W).


Skutnik, Mateusz.


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Slade, Christian


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Sloan, Michael


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Sommer, Anna.
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Spaey, Kris


Schrauwen, Olivier.


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Stanley, John


Stedho


Steve, Danny.


Sutter, Steve de
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Taki, Yiouli




Tan, Shaun
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Tanaka, Masashi.
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Tanaka, Veronique
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Tande, Leif
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Tatulli, Mark
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Thurber, James




Trondheim, Lewis
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Trondheim, Lewis and Thierry Robin.
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Turner, Gwen.
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Vanoli, Vincent
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Varon, Sara


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Veen, Herman van.


Vercnocke, Wide.
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Verkoelen, Maikel.
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Vlerk (A) and Oek de Jong (W)


Waid, Mark and Barry Kitson.


Waldman, Myron.
Eve

Publisher: New York: Stephen Daye, 1943.

Comment : Same height/width as a magazine. Paper cover, bound on the side with the same kind of red cloth tape found on American comic strip reprint books from about 1902 to 1935. Color (limited) cover, b&w interior. Art style is sufficiently Milt Gross-like that had the artist not been credited, I would be wondering (but uncertain) if it was Gross.

I personally have never heard of the artist before. No mention of serialization is given, and from its nature I doubt it would make much sense broken into parts. (Your question now makes me wonder if a wordless work, unless extremely powerful, can function serialized -- readers need to be able to pick up where they left off a week or a month ago, and, without words, only the most powerful images would have staying power in one's memory. Worse, without words I think picking up on the story in the middle [for those who missed prior issues] would be damn near impossible. I can see continuing characters in a daily silent strip, where each individual strip is a different story and the readers have collectively picked up on the character's quirks over time, but that's it).

Back to Eve -- on the cover, she appears as a plump nude female (looking an awful lot like that cute plump, nude, sexless couple that appeared on buttons and book covers in the U.S. in the 1970's, though I doubt there's any direct relationship). The interior story is mildly entertaining but I wouldn't call great, nor up to the level of Gross' He Done Her Wrong. Still, it surprised me to find any graphic novels in the period between the mid-1930s and the late 1970s. (Especially given that most U.S. fans still debate whether the first graphic novel was Silver Surfer (not the comic format version) or Sabre. Again, I personally believe that Topffer created the first graphic novels.) The story is about a single working woman (secretary -- this is the 1940s) who laments not being married as she witnesses the other secretaries in the office finding husbands and watches longingly other couples. She finally meets someone on a Caribbean/Florida (it's not exactly clear) vacation; she gets back to her job, berates & hits the office's towel boy/bathroom attendant without noticing behind all the towels that it's her love, goes home broken hearted (at first I thought because she found out what his job was, but it turns out she's broken hearted because she feels she blew it by hitting him). He approaches her again, they make up, and get married.It's a lesser work than He Done Her Wrong, and probably harder to find (due both to its paperback construction versus Wrong's hardback, plus it's likely lower print run). Though your competition to find it is virtual nil compared to any Milt Gross work. -- Doug Wheeler



Way, Paul.


West
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Williams, J.R.


Windsor-Smith, Barry.


Winshluss
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Woodring, Jim.
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Wright, Jay.
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Yakin, Erez.


Yeh, Phil.


Yuichi Yokoyama
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